I went into Lux primed not to like it. Not because I doubt Rosalía’s virtuosic talents or her intense intellectual curiosity, but because the album’s promotional campaign had already done too much work on my nerves. The rollout was relentless: thirsty reels teasing the album on social media, fashion-forward mysticism, even bringing Madrid’s city centre to a halt – everything about it felt designed to send the message that this is less a set of songs than a global event demanding reverence.
Over the past decade, Rosalía has become Spain’s biggest pop export, and Lux appears to inaugurate her imperial phase. The album debuted at No 1 in five countries, was voted the Guardian’s album of the year, broke streaming records on Spotify, and reached No 4 in the US and UK charts, where non-anglophone pop rarely thrives. Multilingual and stylistically expansive, Lux is saturated with Catholic iconography, with lyrics in no fewer than 13 languages, and circling themes of transcendence, suffering and grace.
